Noise Aquarium is dealing with plankton and unnatural noise in the oceans as environmental issue. It spotlights animated 3D-models obtained with scientific imaging techniques of the extremely diverse plankton spectrum. With this project we aim to awaken awareness for biodiversity and introduce a collection of accurate 3D-models as a resource for scientific and artistic research. All participants first had to learn to go beyond their field of expertise and communicate with experts from other subjects. The Noise Aquarium’s emerging presentations will happen in multifaceted ways, as varied places and time add context as project presentation parameters that influence the events.

The shadow of a rose ripples across a field of color. Programmed as an animated pin-screen, The Roseuses six different recordings of Claude Debussy’s Clair de Lune, creating an audio reactive painting. The work is homage to the animation technique invented and developed by Alexandre Alexeïeff and his wife Claire Parker’s studio in Paris, in 1930’s.

1194D is one of Raven Kwok’s Algorithmic Creatures, a series of projects exploring artificial life and self-organization in the field of computer-based generative art. It initially started as a tweak of 115C8, which is also Kwok’s creature based on triangular finite subdivision, and was later developed into an experiment on multiple self-similar creatures co-existing within a tetrahedron grid environment. The title 1194D is the corresponding hex code of the work’s creation date. In 2017, it is further developed and customized into multiple versions. The entire visual structure of 1194D is programmed then generated using Processing. All stages are later composed in Premiere. The soundtrack is mac os and windows (re:interpretation) by +.

Miss Park Project #1 is the first in a series of works that conjure the women from modern Korean history through the medium of animation.
The term “animation” originates from the Latin word anima, which means “breath,” or animatus, which means “breathing,” suggesting that animation is a magical medium that breathes life into that which is lifeless or dead. Miss Park Project #1 uses the medium of animation to inject life energy into old, faded photographs of women from the past and summon them to the present day.
The project utilizes a method of collage and décollage with archival photographs. First, the images of women in the photographs are cut out by hand and re-photographed. White paint is swept across the cut-out image, and it is photographed once more. Then the next archival image is added, and this process of collaging, painting and shooting is repeated. The images of the women are gradually built up as if re-echoing their manifestation over time. Finally, the built-up image undergoes a process of décollage. The pieces are removed in an intuitive way, becoming torn and frayed in the process, and a wholly new image is uncovered. Each step of the process is captured as an individual frame and combined in an animation. Here, the dualistic division of life and death and the linear sense of time disappear. These animated footages of the deconstruction and reassembly are montaged on a multi-screen installation in the final exhibition stage.
Miss Park Project #1 was created through the handling, ripping, painting, and tearing of old photographs in an analog process that recalls a performative ritual. It is at once a tribute to my mom, who lived through tumultuous times as a daughter, sister, wife, and mother, and a kind of carnivalistic act of sympathy for the myriad lives of women that cannot be singularly symbolized and defined. I hope that the visual and auditory imagery with its many layers and textures create an involuntary and indefinable sensory experience which transports the viewer to a surreal (or unreal) space and time.

360 video cameras allow for the moving dancing body to be captured in an embodied manner grasping at perceptions of place, space and scale, otherwise only experienced through live, site performance. These movement studies experiment with notions of dancers being captured in VR from soloist perspectives later to be matched in post-production with their dancing “partners.” Three dancers in a studio are confined by four 90 degree quadrants of space, divided inside the dance studio. They are then composited together inside a 360-degree composition for playback in multiple formats (VR headset, Web download, panoramic projection). The dancers are guided by creative constraints, and improvisational techniques to construct four different movement studies designed to work individually and together depending on viewer choices.

An ongoing collaboration between San Francisco based creative coder Marpi and Archan Nair, digital artist from New Delhi, India. An interactive exploration of Archan’s worlds, extended in Virtual Reality into a creative, generative landscape. Combining assets made by Archan Nair with responsive WebGL code, it spans across desktop, mobile (gyroscope based interaction) and Virtual Reality. WebVR based, works with all major devices, best viewed room-scale with HTC Vive.

Secret Detours engages the audience with overwhelming vistas in a full spherical presentation, encompassing the viewers from all angles.The movie short is set within a lush Chinese garden, adapted from the great traditions of imperial landscaping – in the Yunnan Garden in the West of Singapore. Four dancers, dressed in the colours of the cardinal directions, examine the spaces, the paths and the detours of the green scenery. The 360° video relates to the experience of being surrounded by mythological creatures and their traces inside the garden. As the beautiful layout of the grounds is composed from a range of intersections with multiple meandering paths to choose from, the omnidirectional video invites similarly to explore the atmosphere between an exquisite selection of trees, shrubs, bushes and pieces of architecture.

Here, I play with my breath and motions to make space[s] bigger and smaller and to reshape them by dragging them in various direction. Indeed V.01 is an interactive installation that enables spectators immerse into their own narrative by mirroring through breathing. The floating and mirroring sack implies the manoeuvres of reflecting myself inwards and outwards. Thus, this represent an indeed moment of myself. Rather than focusing on spotting pieces of body, I acquire this sack, which has constant changing, and deforming images of viewer, an altered self. Indeed V.03 conveys my question in the notion of resemblance between mirroring and selfie by recording, layering and editing of multiple footages of mirroring myself.

Repetition and distortion drive this audiovisual collaboration between composer Lux Prima and visual artist Max Hattler, where fuzzy analogue music and geometric digital animation collide in an electronic feedback loop, and spawn arrays of divisional articulations in time and space.